Caitlin Fisher is quoted in a Shift magazine article as stating:
"I wanted small stories to be encountered in no particular order, for them to crash like waves. Contradictory tales emerge, and readers encounter diverse girlhoods -- girls at once strong, scheming, vain and kind. Hypermedia made that possible." It is clear her text thrives on its form. As Nicole Brossard writes in L'Amer (These Our Mothers), "If it weren't lesbian, this text would make no sense at all" (16). Likewise, if Fisher's text wasn't a (lesbian?) hypertext, it wouldn't have the same effect. The content of her piece is successful due to its manner of presentation: its form.
In This Sex Which is Not One Luce Irigaray opposes the assumed duality and binary oppositions of patriarchal thought, symbolized in the conception of male and female bodies. Women's bodies have been characterized as lacking or castrated for centuries. Irigaray contests this assumption by illustrating that women' genitals do not signify a lack - a nothingness - but instead a continuity: a sex which is not one (like a man), but is plural, "in continuous contact"(24), a constant exchange and cycle. Daphne Marlatt takes up the repetitive and cyclical nature of a woman's body in her poem musing with mothertongue: "the wisdom of endlessly repeating and not exactly repeated cycles her body knows".
Many feminist writers hold that a feminine text should reflect in its form this structure of multiplicity and repetition. In addition, writers from non-Western cultures often employ elliptical structures in their work, as in the work of First Nations writers Jeanette C. Armstrong, Beth Brant, and Eden Robinson. It will be interesting to see how the possibilities opened up by digital media and hypertext will affect the production of their texts. Skawennati Tricia Fragnito of Montreal has already taken steps in creating a space for First Nations Women online.